Religious iconography

Iconography, as a branch of art history, studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write"). A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production of religious images, called "icons", in the Byzantine and Orthodox Christian tradition; see Icon. In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures. The term is also used in many academic fields other than art history, for example semiotics and media studies, and in general usage, for the content of images, the typical depiction in images of a subject, and related senses. Sometimes distinctions have been made between iconology and iconography, although the definitions, and so the distinction made, varies. When referring to movies, genres are immediately recognizable through their iconography, motifs that become associated with a specific genre through repetition.

Early Western writers who took special note of the content of images include Giorgio Vasari, whose Ragionamenti, interpreting the paintings in the Palazzo Vecchio in Florence, reassuringly demonstrates that such works were difficult to understand even for well-informed contemporaries. Gian Pietro Bellori, a 17th-century biographer of artists of his own time, describes and analyses, not always correctly, many works. Lessing's study (1796) of the classical figure Amor with an inverted torch was an early attempt to use a study of a type of image to explain the culture it originated in, rather than the other way round.

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